Bristow makes a good case for such an interpretation, although his quibble with Donald L. Bristow further argues that, rather than viewing the novella as a trial run or draft for the book version, the novella ought to be considered as a separate work that stands on its own merits. During the course of his introduction, Bristow makes a good case for Wilde’s desire to maintain his doctrine of aestheticism in the book, despite adverse criticism of the novella. In addition to discussing the composition and publication history of this work, Bristow also discusses the critical reception of the novella The Picture of Dorian Gray (1890) and how this reception shaped Wilde’s changes that appeared in the book version of the novel. Bristow begins this edition with a lengthy Introduction in which he outlines the composition and publication history of both the 1890 novella that appeared in Lippincott’s Monthly Magazine and the longer book of the same title that was published by Ward, Lock & Co. As with the other volumes in this series, Bristow’s is an ambitious undertaking to present a definitive scholarly edition of Oscar Wilde’s lone novel The Picture of Dorian Gray.
0 Comments
Leave a Reply. |